Shakespeare 400
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SHAKESPEARE 400 December 11, 2016 1:30pm • 4pm • 7pm First Congregational Church 1609 University Avenue, Madison CONTENTS 3 From the Directors 6 MYC Staff and Board of Directors 6 Sponsors Program Notes 7 1:30pm | Sunday, December 11, 2016 Choraliers, Con Gioia, Capriccio, Cantilena, Cantabile 15 4:00pm | Sunday, December 11, 2016 Purcell, Britten, Holst, Ragazzi 21 7:00pm | Sunday, December 11, 2016 Cantilena, Ragazzi, Cantabile 31 Special Guest Artists 34 MYC Members 40 Friends and Donors 2 From the Directors Special Thanks Our winter concert series, now named the Diane Ballweg Winter Concerts, has been permanently endowed by Diane Ballweg. Her incredible gift supports the production costs of presenting a winter concert series (facility rental, guest musicians, music) This semester, as a way of taming what we feared could become a sprawling, each year in perpetuity. We are grateful to Diane for her long-time support of MYC. unwieldy curriculum (Shakespeare is huge!), we wrote three very specific outcomes If you are interested in learning more about creating a concert endowment, please for what our singers could learn from an intentional focus on the Bard. For fun, contact us. We’d love to talk to you more about how an endowment gift can make a we challenged ourselves to write them not only in Elizabethan style, beginning significant impact on the wonderful young musicians you will hear today. with a Shakespearean style interjection, but also in iambic pentameter! Hark! There’s music in these words! (Students will identify what’s “musical” in Shakespeare’s language, using the Please Note Elements of Music (melody, harmony, rhythm, timbre, texture, dynamics, form.) Every MYC concert is recorded, and each concert represents the extraordinary effort Scholars have often remarked on the “musical” quality of Shakespeare’s and hard work of our young musicians. We want them to remember their performance style. What does this mean exactly? Practicing our “expert noticer” skills, for its artistry, not its interruptions. we discovered Shakespeare’s careful construction of a sonnet (FORM); his intentional use of iambic, trochaic, and other meters (RHYTHM); and the clever Please silence or turn off all electronic devices. And if you are attending with young use of vowel sounds and consonants (assonance and alliteration) (TIMBRE, children and they are having trouble enjoying the concert quietly, please consider TEXTURE). Even the natural rise and fall of his language, and choosing stepping out into the lobby. words of a certain length for their effect, show his ear for MELODY. Thank you for your cooperation. Out, out—unfold the myst’ries of a man! (Students will recognize examples of Shakespeare’s keen psychological insight, Madison Youth Choirs • P.O. Box 5233 Madison, WI 53705 • 608-238-SING (7464) madisonyouthchoirs.org and his understanding of the human condition, with both its foibles and virtues.) Singing multiple settings of the same text, such as “Blow, Blow, Thou Winter Wind” helped students to consider the “sticking power” of these texts over centuries. Why do they still inspire, four hundred years later? What is it that Shakespeare understood about human nature, both its goodness and its potential for cruelty? What does Shakespeare show us about ourselves? Forsooth, I know it’s hard, but tell me why it matters. (Students will develop resilience and patience toward the hard work of artistic excellence, recognizing that masterpieces do not necessarily reveal their treasures quickly or easily.) Every time we encounter some complexity, some artistic detail that is hard to perform or understand, or some hidden layer that needs unpacking (which is a characteristic of all great art), we face the question: is the extra work worth it? We are building resilience in our ability to tackle things that are challenging. We discussed the difficulties and impatience that some people have toward Shakespeare, and whether all the hard work to understand the Bard is really worth the trouble. We haven’t forgotten about Shakespeare’s musical contemporaries, either—you’ll hear music by them today as well. And to really set the scene for a little time-traveling back to the 16th century, we’ve invited a special guest artist, Brandon Acker, to play some interlude music on the popular instrument of Shakespeare’s time, the lute. —The artistic staff of Madison Youth Choirs 4 Staff and Board of Directors MYC Staff Michael Ross...............................................Artistic and Executive Director | Conductor Lynn Hembel......................................................................................Managing Director Nicole Sparacino...........................................................................Development Director Lisa Kjentvet......................................Education and Outreach Coordinator | Conductor Alyssa Gunsolus...............................................................Program Services Coordinator Ian Disjardin.................................................................................Rehearsal Coordinator Calli Ingebritsen................................................................................................Instructor Jingwen Fan.................................................................................................Accompanist Margaret Jenks.................................................................................................Conductor Andrew Johnson..........................................................................................Accompanist Steve Radtke................................................................................................Accompanist Marcia Russell.................................................................................................Conductor Jess Salek.....................................................................................................Accompanist Margaret Stansfield...........................................................................................Instructor Randal Swiggum..............................................................................................Conductor Yanzel Rivera-Otero...........................................................................Bolz Center Intern Emily Dimond..............................................................Artistic Administrative Assistant Board of Directors Dan Sinclair, Julie Verban, past president President Gabe Benghiat, ex-officio Michelle Kruse Daniel Lyons, Teague Mawer Vice-President Elizabeth Odders-White Penny Patterson David Schmiedicke, Kris Rasmussen Treasurer Cheryl Rowe Laurie Fellenz, Mae Saul, ex-officio Secretary Brian Tennant Thank You to Our Sponsors! This concert is generously endowed by the Diane Ballweg Performance Fund. Additional support for our 2016- 2017 season comes from: Diane Ballweg Performance Fund Capital Times Madison The Brittingham Fund Kids Fund South Rotary The Courtier Foundation, Inc. 6 CHORALIERS Hey Ho! To the Greenwood William Byrd (c. 1543–1623) William Byrd was an English composer of the Shakespearean age who wrote church, consort and vocal music. Considered Queen Elizabeth’s favorite composer, he is best known for his development of the English madrigal. This hunting canon was first published by Thomas Ravenscroft in the English collection of vocal rounds and canons entitled Pammelia, the first collection of its type, in 1609. SHAKESPEARE Spirits Douglas Beam 1:30p.m. Sunday, December400 11 No Shakespearean comedy offers such a feast of magic, humor, music and spectacle as A Midsummer Night’s Dream, the play upon which this song is based. Boundaries First Congregational Church between reality and illusion are blurred in a nocturnal forest, where magic swirls through the dreams of lovers, and charms are cast on actors rehearsing a play. The themes of magic and dreams are portrayed in the composer’s two melodies, the first sung by the forest spirits and the second by the dreamers, which are later superimposed with a descant. CHORALIERS Lisa Kjentvet, conductor Orpheus With His Lute Ralph Vaughan Williams (1872–1958) Steve Radtke, piano Orpheus with his lute made trees, And the mountain tops that freeze, Bow themselves when he did sing: CON GIOIA To his music plants and flowers Marcia Russell, conductor Ever sprung; as sun and showers Jingwen Fan, piano There had made a lasting spring. Everything that heard him play, Even the billows of the sea, Hung their heads, and then lay by. CAPRICCIO In sweet music is such art, Lisa Kjentvet, conductor Killing care and grief of heart Steve Radtke, piano Fall asleep, or hearing, die. (Henry VIII, Act 3, Scene 1) Orpheus was the great musician in Greek mythology that could entrance all of nature, even wild beasts, with the beauty of his singing and lute playing. Music played an CANTILENA integral role in Shakespeare’s writing, not only in the poetry of the language itself, Marcia Russell, conductor with its rhythm and rhyming sequences, but the richness of musical references and Jingwen Fan, piano the inclusion of songs in the Bard’s plays. This delightful poem was inspired by the Greek myth and appeared as a song in Henry VIII, when Queen Katherine asks her serving woman to sing and disperse her troubles. Vaughan Williams, one of the most celebrated English composers of the early 20th century, set the poem to this CANTABILE beautifully crafted melody that uses a simple three-note melodic motif: the interval of Michael Ross, conductor a third followed by a major second. Jess Salek,